Love and Sex in Mario Vargas Llosa's Quin mat a Palomino Molero?

Author(s): Brent J. Carbajal

Source: Hispanic Review, Vol. 68, No. 3 (Summer, 2000), pp. 267-278
Published by: University of Pennsylvania Press
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 LOVE AND SEX IN MARIO VARGAS LLOSA'S 2QUIEN MATO
A PALOMINO MOLERO?

BRENT J. CARBAJAL
Western Washington University

,f a ARIO Vargas Llosa's murder mystery Z Qui

mat6 a Palomino Molero?, while certainly as e
tertaining an example of its genre as one wou
expect from an author of such universally ac-
ui
AC* *. knowledged narrative skill,1 is ultimately less a
tale of complicated sleuthing than it is a commen-
tary on collective corruption, social injustice and
base human nature. Against a sharply defined backdrop of the class
system in his native Peru, Vargas Llosa registers in this novel the
socio-political reality that oppresses the individual by limiting his
opportunities, both personal and professional, and dooming to
failure any attempt to escape the mandates of systemic social stra-
tification. The author achieves his bleak portrayal of Peruvian so-
ciety in a number of ways, but primary among them is his presenta-
tion of the theme of forbidden love and his use of coarse sexual
imagery and counterpoint. It is through thematic consideration
associated with problematic love and sex that Vargas Llosa creat
scenario in Quidn matd a Palomino Molero? that not only ad
the occurrence of the young pilot's gruesome murder, but that

1 For an excellent overview and assessment of Vargas Llosa's work up t

guerra del fin del mundo, see Gerdes.

267

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 268 Brent J. Carbajal HR 68 (2000)

makes it an almost logical consequence and co

love affair.
While a detailed summary of the plot of the novel is not required
here, a brief overview of the particulars of the crime and the two
detectives' investigation is helpful in establishing certain points for
further analysis and consideration. The novel begins with the discovery
of the mutilated cadaver of a young air force pilot. As Lieutenant Silva
and his aide Lituma set out to investigate the crime, they uncover a great
deal of evidence, rather quickly, that indicates the possible existence of
a military cover-up designed to protect powerful leaders. Eventually, the
two detectives gather enough information to implicate Colonel Min-
dreau, the uncooperative and seemingly omnipotent commander of the
air base. Faced with the prospect of his crime being discovered by the
civil authorities, (an embarrassment in and of itself due to his sense of
invincibility on base and feeling of superiority over his civilian counter-
parts), Mindreau kills his daughter and commits suicide. In a confession
given to the detectives prior to his putting a gun to his head, Mindreau
states that he ordered Palomino's murder in order to protect his daugh-
ter Alicia from the consequences of her amorous relationship with
Palomino, a lowly mestizo. He had sent one of his subordinates, Lieu-
tenant Duf6, to kill Palomino and thus claims no responsibility for the
horrific nature of the torture that preceded the murder. Alicia had
previously confided to the detectives that her father abused her and that
he had for many years engaged in relations with her, but Colonel
Mindreau dismisses this in his confession as being yet another example
of his daughter's delusions brought about by her mental illness. The two
detectives are "rewarded" for their successful investigation by being
transferred to outlying areas by an ambiguous administrative authority,
and by the community doubting the detectives' conclusions, the "com-
mon folk" preferring instead to hold to a conspiracy theory involving
foreign powers. This reluctance on the part of the public to accept the
detective's explanation of the crime and the deaths of Mindreau and his
daughter create an open ending to the novel which clouds any definitive
answer to the question posed by the title of the book.
Parallel to the crime investigation is the development of Lieu-
tenant Silva's quest for the sexual attention and favors of Dofia
Adriana, the married owner of a restaurant at which Silva and Lituma
frequently dine. While Silva's lust for Adriana is a sub-plot in the
novel, it at times seems to overtake the crime investigation in im-
portance as Silva's desire to possess the woman pervades his moti-

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 Palomino Molero 269

vation and thought process. In fac

Adriana to the extent that his wor
nearby city to gather information
tes more conversation to trivialities and to Adriana than he does to
the murder investigation:
desde que entraron a la choza de Dofia Lupe era como si al Teniente Silv
se le hubiera eclipsado la curiosidad por Palomino Molero. Toda la
comida no habia hecho otra cosa que hablar del nombre de Amotape, o,
claro estai, de Dofia Adriana.2 (85-86)
Like the less than satisfying outcome of the criminal investigation,
however, Silva is ultimately not rewarded with Adriana's virtue but
rather summarily dismissed by the woman while sustaining a devas-
tating blow to his masculinity or "machismo."
The ambiguous ending to the crime investigation and the appa-
rent distraction posed by the sub-plot have caused ? Quiedn mat6 a
Palomino Molero? to be received less than favorably by some critics.
Julio Ortega, for example, states:

SQuidn mat6 a Palomino Molero? utiliza un dialecto truculento, y suma al

crimen un incesto, un asesinato y un suicidio, [pero] termina siendo un
relato excesivamente tenue. .... Si la imposibilidad de encontrar la verdad
en una sociedad corrompida por el poder y estupidizada por los prejuicios
es aqui el problema central, ese problema ha sido trivializado por su
planteamiento. (975-76)3
Antonio Cornejo Polar criticizes the novel for its open ending as well
as its simplicity (283), and others claim that the 1986 novel is a dis-
appointment when compared to earlier works like La casa verde
(1966).4 This criticism misses the mark, however, and ignores the subtle
importance of ambiguity in this work. Critic Arnold M. Penuel, in fact,
disagrees with Ortega and Cornejo Polar and says that "Vargas Llosa's
ambiguities serve to widen the reader's perceptions and sympathies
within the framework of the social relations he dramatizes" (945).* The

2 This quote is found on pages 85-86 of the novel. All subsequent quotations will
be noted parenthetically in the text.
3 Ortega also claims in this article that ?Quidn mat6 a Palomino Molero? is the
least interesting novel Vargas Llosa has written (975).
4 See Bejar for a brief summary of negative criticism of the novel.
5 Penuel also discusses his idea that Vargas Llosa employs a "perspectivism" that
enables him to exploit as many levels of reality as he can (944-46).

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270 Brent J. Carbajal HR 68 (2000)

narrative counterpoint of base sexual behavior

bidden love that characterize lQuidn matd a
evoke the ambiguity mentioned by Penuel and
scrutiny of multifaceted reality. As mentioned
as vehicles with which the author illuminates Peruvian social ills as well
as the difficulty faced by the individual in search of an answer and
response to collective social corruption.
To begin to examine the theme of love, (or forbidden love), in
? Quidn mat6 a Palomino Molero?, it is instructive to evaluate the
nature of amorous relationships found in the novel. Perhaps most
importantly, Palomino Molero was brutally murdered for daring to
love a woman from the upper class. Palomino himself was aware of
the danger his liaison with Alicia represented and confided to the
bartender Moises, "estoy enamorado, Moises, y mi amor es imposi-
ble" (23). Society had dictated that a "cholo," or man of mixed race,
could not be romantically involved with a white woman of the
military ruling class, and Palomino was symbolically castrated and
killed for having challenged that rule. Coronel Mindreau's amorous
and incestuous relationship with his daughter brings them nothing
but pain and their own eventual destruction. In describing her
father's love for her, Alicia states:
El amor no tiene fronteras, dice. El mundo no entenderia. La sangre llama
a la sangre, dice. El amor es el amor, un huayaco que arrastra todo.
Cuando dice eso, cuando hace esas cosas, cuando llora y me pide perd6n,
lo odio. (138)

The shame and social embarrassment associated with his relatio

with his daughter, and the possibility of its being divulged in p
would have been too much for Mindreau, and he unhappily sa
alternative other than to murder his daughter and then commit su
himself. In a sense, this is another case of forbidden love.
A third example of this theme in the novel is really more a
of "thwarted lust." Lieutenant Silva's desire to consummate his "love"
for dofia Adriana results in catastrophe for him as his manhood, his
"machismo," is destroyed by Adriana's rejection. After stating his
intention to "tirarme de una vez a esa gorda de mierda" (171), Silva's
attempted rape of the woman is comically and definitively never
realized as the result of her bold challenge:
,Tan chiquita la tienes, papacito? Anda, anda, aptirate, bjlate el pantal6n
y muestramela. Ven, vi6lame de una vez. Muestrame lo macho que eres,

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 Palomino Molero 271

papacito. Caichame cinco veces seguid

cada noche. (184)

Silva is reduced to a mere shadow of himself after this exchange, and

realizes that his "love" for Adriana is, and always will be, impossib
Other, perhaps secondary, love relationships in the novel inclu
those between the prostitutes and most of the male characters, t
unlucky affair between Lieutenant Duf6 and Alicia, and the marri
between Matias and Adriana. The nature of the relationships be-
tween the prostitutes and the male characters requires little expla-
nation here; it is sufficient to recognize that "true love" is not a
factor." Duf6's love for Alicia was made forbidden by jealousy and
possessiveness on the part of Mindreau and the former's dedication
to following orders. Once again, military mandate forbade this love
affair. Finally, and typically ignored by critics, the love and marital
relationship between Adriana and Matias is at least affected by
society, if not weakened, by the fact that their working-class lives
dictate that she spend the day working in the restaurant while he
sleeps and that he spend the night at sea while she goes to bed alone.
Theirs is indeed a healthy relationship, but their complete happiness
is, to a certain extent, forbidden by their economic reality.
While Lituma doesn't have a love affair with which society inter-
feres, he is profoundly affected by what he witnesses in relation to
love. As a subordinate to Silva, he has no choice but to participate in
sordid adventures with his boss and to assist him whenever possible
in his attempt to rape Adriana. He is amused by Silva's lack of
success in this endeavor, but he is also disgusted by just how
obsessed the lieutenant has become with the idea of having another
man's wife. When Silva sends Lituma to scout the beach as part of a
plan to surprise Adriana alone, Lituma finds the woman and engages
her in conversation. He learns of Adriana's love for her husband and
the difficulties financial considerations have placed on their relation-
ship. Lituma is, at this point, not "working" for Silva but rather
against him. Lituma is a romantic at heart, and prior to informing
Adriana of the reason for his presence on the beach, he asks her if

6 See Shaw's comments concerning the difference between sexuality and love. He
presents the idea that writers of the "Boom" tended to privilege sexuality and exclude
love.

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 272 Brent J. Carbajal HR 68 (2000)

she really loves Matias. She replies that desp

been together for twenty-five years and cont

Mis padres no querian que me casara con 61. De

que el matrimonio no duraria. Se equivocaron, ya

todo,(77)
quiero? nos hemos llevado bastante bien. ,Por q

Lituma poses the question, it seems, because he wants to va

the embarrassment he feels at being there to help arrange S
plan. He desperately wants to believe in love and the possibilit
existence in a world that has bitterly disappointed him in ter
fostering true love; he is ashamed to represent Silva's base s
desires and disregard for the sanctity of the institution of m
Lituma enjoys his conversation with Adriana because her desc
of her love for Matfas helps to bolster his sagging faith in tr
He even tells her, "gracias a nuestra charla, me olvid del flaqu
mataron." (80)
In the end and due to the circumstances of the criminal investi-
gation, however, Lituma is saddened by what he sees and learns. All
around him he finds examples of the control that societal corruption
and injustice have on the lives of individuals. It is through his
portrayal of society's predilection for structure and compliance over
love and emotion that Vargas Llosa depicts the oppressive nature of
Peruvian society, and it is through Lituma that the reader is made to
see the inadequacy of individual effort against collective injustice.
Lituma is amazed, indeed encouraged, to learn that Palomino had
enlisted in the air force for reasons of love, but Silva quickly cheap-
ens the moment. Lituma asks his Lieutenant:

,No le parece
muchacho, extraordinario
exonerado quevenga
del servicio, alguien
y sehaga una
enrole cosa
por asif?
amor, ,Questar
para un
junto a la hembrita que quiere? (108)

but Silva replies:

-,Y por de
meteria qu6avionero,
te admirade tanto eso?
soldado ... de
raso, no cura,
sabesde
lo recogedor
que es el amor... Yoyme
de basura
hasta comeria caca si hiciera falta, para estar cerca de mi gordita,
Lituma. (108)

Both the content of Silva's response and his use of the word "
destroy what was a beautiful revelation for Lituma.

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 Palomino Molero 273

The sadness and disappointment experienced by Lituma as a

result of the disturbing details of the investigation are perhaps best
summarized in a description of his reaction to learning about
Mindreau's incestuous relationship with his daughter:

Sinti6 pena. Por 1, por el Coronel Mindreau, por el flaquito, por la

muchacha. Tenfa ganas de echarse a ilorar de pena por el mundo entero,
carajo. (155)

With this, Vargas Llosa clearly expresses his concern that tr

the confrontation between the individual and society usually
in corruption, injustice and blind adherence to collective "agree-
ment" suppressing beauty, love, and truth.
It is, then, through a combination of two distinct "storylines" that
Vargas Llosa creates his narrative portrayal of what he perceives to be
ambiguous Peruvian social realities. By countering the criminal inves-
tigation, (an investigation that involves love and sex), with a tale of
unrequited lust, the author ultimately depicts a society "in which the
individual can hardly escape the taint of corruption," (951) as Penuel
states, and in which the beauty of love is almost entirely eclipsed by a
destructive sexuality. Helen L. Ryan-Ranson says that Vargas Llosa "ha
creado un mundo novelistico que es alucinante, enajenado, angustioso,
tenso e irreal," y que "ha hecho su denuncia de la corrupci6n social en
el Peru y ha puesto en cuesti6n los valores morales de la sociedad"
(149).
Manuel Quiroga Clerigo summarizes the issue of the tragic impli-
cations of social and racial influences and pressures on affairs of the
human heart by stating that Vargas Llosa

[h]a derivado todo hacia una acci6n coordinada de asesinos que tratan de
romper un simple coraz6n, el de Palomino Molero, por haberse
entrometido en el cuento de hadas que no le podia pertenecer. .... Asi es
como surgird una especie de colectiva corrupci6n capaz de llegar al
asesinato y de provocar la intitil tragedia. (131-34)

Both Palomino Molero and Lituma struggle for confirmation of the

possibility of the existence of true love free from social mandates and
restrictions, but both are disappointed and ultimately consumed by "la
infitil tragedia" that Vargas Llosa so artfully evokes in this novel.
As mentioned earlier, it is not only through his double thematic
structure that Vargas Llosa registers sexuality in this novel, but also
through the use of a narrative counterpoint that emphatically echoes the

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274 Brent J. Carbajal HR 68 (2000)

corrupt, vile, crude, and sexually base nature

scribed. Kenneth M. Taggart asserts that Vargas
que in a number of his works but perhaps neve
he does in Quirdn mat6 a Palomino Molero?
Es sabido que Vargas Llosa tiene una pasi6n por el cine y por eso nos
parece probable que haya adaptado algunas tenicas de este medio. En
muchos episodios hay sonidos (el mar, un didlogo de fondo, maullidos de
gato) que el autor dirige y utiliza de la misma manera que el director de
cine emplea la muisica de fondo como contrapunto para complementar o
aumentar el tono o tema de la escena. (152)

In Z Quidn matd a Palomino Molero?, sex and sexual noises

function as counterpoint to the criminal investigation of Palomino's
death. During their interview with dofia Lupe, for example, Lituma
and Silva hear animal sounds that serve as background noise for
their conversation about Palomino and Alicia:

El rebuzno enloquecido de una burra quebr6, a lo lejos, la quietud del

exterior. "Se la estUn cachando," pens6 Lituma. (90)

Later in the conversation Lituma's thoughts are again drawn to what

is happening outside:

El rebuzno obsceno hiri6 de nuevo la mafiana, mais cerca, y Lituma oy6

tambien un galope. "Ya se la tir6," dedujo. (92)

This "atmosphere" created by the animals should not be interpreted

as interruptions or distractions, however, but rather as counterpoint
reflections of the plot. Taggart claims that the noises evoke Lupe's
tale about the two lovers:

Cuando dofia Lupe revela que les dio cama [a Palomino y Alicia], l
evocaci6n de los momentos de intimidad entre los enamorados se reflej
contrapuntisticamente por medio del rebuzno. (153)

Another example of this rather coarse sexual imagery is regis-

tered later in the novel when the two policemen query Coronel
Mindreau about his daughter, Palomino, and Lieutenant Duf6. Once
again, the counterpoint contributes to the meaning of the conver-
sation given the context and subject:

A lo lejos, varios gatos maullaban y chillaban, freneticos: ?,estarian

peleaindose o cachando? Todo era confuso en el mundo, carajo. (163)

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 Palomino Molero 275

Given the harm and pain that love

Alicia, Palomino, and Duf6, Lituma'
distinction between "pelearse y cac
seems very justified. Taggart adds

maullidos fren6ticos sintetizan, de un

narrar-el amor imposible de los enamorados, el amor no correspondido
del teniente Duf6 y la pasi6n prohibida del padre. (156)

This sexual counterpoint emphasizes an important aspect of the

main theme of the novel: the individual finds it difficult to battle against
collective corruption and social injustice because his passion, the emo-
tion that drives sexuality and love, isolates and alienates him. Penuel
states that the emotions that revolve around sex and love in Z Quidn
mat6 a Palomino Molero? have passion as a common denominator and
that this passion "both unites and divides characters. The common
source of their best and worst conduct, passion is the basis for their
self-fulfillment, destruction of others, and self-destruction" (946).7 The
reader sees sex and love in only a negative or "ugly" light in this novel.
Sexual love, filtered through the injustice of society's restrictions, brings
about the destruction of many characters. Through counterpoint, sex is
reduced to the obscene noises made by mating animals. Coronel
Mindreau's comment that "hay un fondo bestial, en todos. Cultos o
incultos, todos" (159), is particularly illuminating in this context as it
helps define how passion is to be perceived in the novel: as a base
emotion capable of magnificent or catastrophic results; the compassion
Lituma has for Palomino, or the latter's revolting murder.
An additional aspect of this counterpoint in the novel is the use of
sexually oriented profanity. Lieutenant Silva, for example, scarcely ut-
ters a line without swearing or referring to sex. It is not necessary to
exhaustively enumerate examples of profanity in the narrative, but a
few examples serve to demonstrate how this type of language contri-
butes to the author's statement about society's lurid nature and the
individual's reaction to injustice.
With frequent use of such words as "puta," "concha de su madre,"

7 Penuel goes on to state that the novel "provides a rich psycho-social vision of
humanity in which passion, the fundamental determinant of the characters' lives,
flows into various channels, according to their psychological predispositions and
social circumstances" (946).

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 276 Brent J. Carbajal HR 68 (2000)

"chucha," "huev6n," etc.,s lieutenant Silva s

guage seems to come to him naturally and it almost defines or
punctuates his speech. He uses profanity to make his points, feeling
that this language accords proper emphasis to important issues. In
conversation with dofia Lupe, Silva says:

Si usted no coopera, si no responde a mis preguntas, se va a meter en un

lio de la puta madre. Se lo digo asi, con palabrotas, para que se de cuenta
de lo grave que es. (89)

Another "offender" in this area is Richard Duf6, whose crude and

obnoxious behavior during his drunken tirades is peppered with
profanity. While being interrogated by Silva and Lituma, Duf6 asks
the former, ";,Quien chucha eres tui y quien chucha es tu madre?" and
later says "Tui debes ser maric6n... ,me has traido aqui para que te
haga el favor de meterte la pichula?" (64) These are only a few
examples of the drunk airman's language, but it is apparent that he,
like Silva, relies on sexual profanity to convey his reactions, impres-
sions and opinions.
Nana Badenberg, Alexander Honold, and Susan Horstmann offer
insightful analysis on the use of profanity in general and specifically
on its use in the novel:

Aqui se podria adelantar tal vez la hip6tesis de que existiria una relaci6n
de correspondencia entre una lengua vulgar y una situaci6n de fracaso,
inseguridad o ausencia de poder. (298)

This interpretation of the importance of vulgar language in the

novel seems quite appropriate given the book's general theme.
Almost all the characters use profanity, (except for Mindreau, a
man who at least nominally controls his social circumstances and
position of power), and all find themselves in some position of
weakness. This language, a dominant characteristic of the novel,
reflects the plight of the individual in society and his struggle

s See Badenberg et al. The authors give a detailed account of the profanity found
in the novel.

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 Palomino Molero 277

against collective societal forces th

dignity, and happiness.9
Considered in its entirety, i Quid
masterful novelistic presentation
inequities and power in Peruvian so
found to be sadly inadequate and po
tive corruption and apparent intrin
By employing a sexual counterpoin
ment the principal thematic issue of
emphasizes a certain bestial nature i
isolation if not self-destruction. As Mindreau states in his confession
to Silva and Lituma, "hay un fondo bestial, en todos. Supongo que
mas en las clases bajas, entre los cholos. Resentimientos, complejos
(159). That "fondo bestial," manifested through love and sex in th
novel, eventually effects Mindreau's own destruction and the expo
sure of social injustice seen through Vargas Llosa's eyes. The only
adequate or appropriate response to this reality seems to be the
expression that both begins and ends the novel: Lituma's "jijunagran-
disimas."

WORKS CITED

Badenberg, Nana, Alexander Honold, and Susanne Horstmann.

"6Quidn matd a Palomino Molero?: Vargas Llosa y la novela
policial." Revista de Critica Literaria Latinoamericana 15
(1989): 277-316.
Bejar, Eduardo. "La fuga er6tica de Mario Vargas Llosa." Symposium
46:4 634-42.
Gerdes, Dick. Mario Vargas Llosa. Boston: Twayne, 1985.
Ortega, Julio. "Garcia Marquez y Vargas Llosa, imitados." Revista
Iberoamericana 52 (1986): 971-78.
Penuel, Arnold M. "The Uses of Literary Perspectivism in Vargas
Llosa's Quidn mat6 a Palomino Molero?." Hispania 73.4 943
52.

9 See Bejar for an interesting interpretation of Adriana's use of profanity and the
consequent destruction of Silva's manhood. The author states that Adriana's appro-
priation of whorehouse slang undercuts Silva's authority and leads to the latter's
failure to realize his goal of raping the woman (246). Here again, profanity is used by
the powerless in response to a threat or statement by the powerful.

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278 Brent J. Carbajal HR 68 (2000)

Quiroga Clhrigo, Manuel. "Vargas Llosa: dram

nos Hispanoamericanos 438: 131-34.
Ryan-Ranson, Helen L. "Lo grotesco en Quidn mat6 a Palomino
Molero?." Mario Vargas Llosa: Opera Omnia. Ana Maria Hernmin-
dez de L6pez, ed. Madrid: Pliegos, 1994. 139-50.
Shaw, Donald L. "Love and Sex in Skairmeta's Match Ball." Love, Sex
& Eroticism in Contemporary Latin American Literature. Alun
Kenwood, ed. Melbourne: Voz Hispainica, 1992. 23-34.
Taggart, Kenneth M. "La tecnica del contrapunto en ZQuidn mat6 a
Palomino Molero?." Mario Vargas Llosa: Opera Omnia. Ana
Maria Hernandez de L6pez, ed. Madrid: Pliegos, 1994. 151-58.
Vargas Llosa, Mario. Quidn mat6 a Palomino Molero?. Barcelona:
Seix Barral, 1986.

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